Category: news

  • Corey Taylor Sees 3 Therapists At Once And Says It’s Working

    Corey Taylor has been seeing three therapists at the same time for three years — and the reason why says a lot about where he was mentally. Continue reading…
  • GAST sign to Horror Pain Gore Death Productions – “Förbannelser” set for release July 31st

    Horror Pain Gore Death Productions are set to release the new EP from Västmanland Sweden’s Black Metal beasts Gast. Förbannelser is up now for pre-order and will be released July 31st on CD and Digital formats along with merch.  Horror Pain Gore Death Productions welcome Gast to the roster with the new EP Förbannelser! Emerging from Västmanland Sweden, Gast channel the dark […]

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  • U2 – “Street Of Dreams”

    Lately we’ve been revisiting U2’s Pop era in our Alternative Number Ones column, taking stock of the hits “Discothèque” and “Staring At The Sun.” U2 themselves have spent a lot of time looking back in recent years. There was a How To Dismantle An Atomic Bomb “shadow album” How To Re-Assemble An Atomic Bomb, an Achtung Baby-themed residency to open the Las Vegas Sphere, a Disney+ documentary, a sprawling album of re-recorded songs from their catalog, among other retrospective ventures.

    The post U2 – “Street Of Dreams” appeared first on Stereogum.

  • DevilDriver Unveil “Strike And Kill” Music Video

    Their new album of the same name will arrive later this week.

    The post DevilDriver Unveil “Strike And Kill” Music Video appeared first on Theprp.com.

  • “I’ve never been a religious person. But letting go of that, of the incredible weight of ego, has helped me listen.” Slipknot frontman Corey Taylor reveals why he says a prayer before going on stage

    In an interview with chef Josh Scherer on the Mythical Kitchen, Slipknot frontman Corey Taylor revealed that he is at the age where he’s been considering his mortality and has taken to praying to a higher power before taking to the stage.

    “As I’ve gotten older, I realise that a lot of my impetuous behaviours [happened], because I didn’t really have a foundation in believing in something,” he told chef Scherer in a thoroughly entertaining interview. “Emotionally, I was pretty nihilistic. You know, as an alcoholic and as an addict, you tend to kind of drive towards extremes.”

    After considering that his mother’s side of the family have lived long lives, Taylor has changed his outlook on life, and says that he has learned to be thankful for the good aspects of it.

    “It meant starting over, looking at how I treated people who worked with me, how I treated people who I loved, how I treated people who I didn’t need anything from,” he says. “And the one thing that I can say is that when that time comes, I wanna be able to look back at who I was, and I may not have been perfect, but I wanna look back and go, OK, I like who I was at the end.”

    Taylor, who has been sober since 2010, says part of his revamped outlook on life involves saying a small prayer before going on stage, inspired by one of his recovery programme’s main principles.

    “I have a higher power in my programme that I recognise,” he explains. “The name is Lord Mother, because it’s a little bit of everything. This is something that I’ve come up with. I don’t really trust a lot of organised religion, however in the programme that I’m in, we are obviously encouraged to realise a higher power that’s greater than us. So to me, Lord Mother is the yin and the yang. It’s the alpha and the omega. It’s the ending, the beginning. And it’s everything around us.”

    “When you open up to it, it’s like feeling a breeze on the hottest summer day,” he adds. “It’s like a glass of iced tea, man. You get that little sweetness, but then your thirst is quenched. It’s beautiful. And it’s taken me time to learn to listen to it. And I’ve never been a religious person. I’ve never been a spiritual person. But letting go of that, of the incredible weight of ego, has helped me listen.”

    As for his last meal, Taylor admits he’s given it some thought in the past when he was invited to be a guest on Ed Gamble and James Acaster’s Off Menu podcast.

    “Honestly, I only did it so I could really kind of talk to those guys, because they’re two of my favourite British comedians,” he smiles. “I really just kind of walked through some of my favourite dishes that my wife makes, you know?”

    Describing his last meal for Mythical Kitchen, Taylor went for “full Iowa grossness.” As for what that actually means to the non-foodies out there, check out the video below.

  • Slowcore Bands imy3 & towhead Announce New Split EP: Hear Two Tracks

    Philadelphia-based duo imy3 and Bay Area trio towhead are two bands who mess around with ’90s slowcore sounds, combining them with the playful and experimental home-recorded electronic textures that have come to affect so much DIY music. They’re both really new. imy3 released their first demo in 2024, and their album imy2 came out last year. Walker Price started towhead as a bedroom-folk project in Washington, DC in 2022, and it developed into a full band after he moved to the Bay.

    The post Slowcore Bands imy3 & towhead Announce New Split EP: Hear Two Tracks appeared first on Stereogum.

  • U2 Previews New Album With Raucous ‘Street of Dreams’ Video

    Larry Mullen is back for their first all-new LP since 2017's 'Songs of Experience.' Continue reading…
  • DS Gallery: The 19 Annual Hurricane Party Music Festival – The Toasters, Mustard Plug, Spitvalves, AAA, The Attack, Dial Drive – (The West End Trading Co, Sanford – FL, 5-23-2026)

    Every year, just outside Orlando in the heart of downtown Sanford, the Hurricane Party Music Festival brings together an incredible lineup of ska, punk, and related genres, delivering an unforgettable weekend for a loyal community of fans who return year after year to celebrate the music they love.

    The festival’s 19th annual edition, held in 2026, featured more than 20 bands performing across multiple stages. Organized by The West End Trading Co., a beloved Sanford dive bar and live music venue, the event once again showcased the vibrant spirit and diversity of the ska and punk scenes.

    Here’s a look at some of the bands we had the chance to enjoy during this fantastic festival!

    The Toasters delivered an energetic set driven by their signature saxophones and trombone, keeping the crowd skanking and dancing throughout the entire performance.

    Mustard Plug kept the energy at full throttle, leading the crowd through sing-alongs and an endless circle pit as their infectious ska anthems provided the perfect soundtrack to the Florida sunset.

    Spitvalves made a powerful return, unleashing their trademark skacore and taking fans straight back to the late ’90s while proving they still have the same energy and fire that defined the band from the very beginning.

    Against All Authority took the stage with their trademark ska punk sound, injecting the night with explosive energy while delivering the hard-hitting songs and socially conscious lyrics that have made them one of the genre’s most respected bands.

    The Attack took the stage delivering pure, hard-hitting punk rock, ripping through a fast-paced set that never let up until the very last song.

    Dial Drive, one of the festival’s youngest bands in terms of career longevity, showcased their growing potential with a set that offered a fresh dynamic, blending emotionally driven songs with an energetic performance.

    Check out the full gallery of the show!

  • Why Obsession Produces Great Art and Destroys the Artist

    Why Obsession Produces Great Art and Destroys the Artist

    Throughout history, obsession and creativity have remained deeply connected, with some of the most powerful artistic works emerging from emotional fixation. Writers, musicians, painters, filmmakers, and poets repeatedly transformed emotional fixation into unforgettable atmosphere, symbolism, and psychological intensity.

    Yet the same emotional force capable of producing extraordinary art can also slowly consume emotional stability itself, revealing one of the darkest contradictions inside artistic psychology.

    obsession and creativity inside Gothic artistic psychology with a tormented artist surrounded by manuscripts and candlelight

    A dark cinematic portrait exploring the connection between obsession, creativity, emotional intensity, and artistic self-destruction.

    Artists driven by obsession rarely experience emotion casually.

    Instead, they revisit memories, fears, desires, grief, beauty, longing, and psychological tension with unusual emotional intensity until these feelings gradually transform into artistic atmosphere itself.

    This emotional overconcentration often produces remarkable artistic depth because obsession forces the mind to remain psychologically immersed inside emotional experiences most people instinctively avoid or suppress.

    At the same time, prolonged immersion inside emotional intensity can slowly damage identity, relationships, mental balance, and physical well-being.

    The artist therefore becomes trapped inside a psychologically dangerous paradox where the same emotional fire capable of illuminating human experience can also gradually consume the person carrying it.


    Why Obsession and Creativity Are Connected

    Great art rarely emerges from emotional indifference.

    Obsession intensifies creativity because it forces the mind to repeatedly return toward the same emotional questions, symbolic images, fears, desires, or unresolved experiences until they become emotionally immersive.

    While ordinary attention naturally drifts between distractions, obsessive thinking narrows emotional focus with unusual psychological intensity.

    This repeated emotional immersion allows artists to explore emotional complexity far beyond superficial observation.

    Ordinary experiences gradually become psychologically symbolic as memories gain emotional architecture, fear transforms into atmosphere, and desire slowly evolves into mythology.

    Many of the strongest artistic movements throughout history therefore emerged from emotionally obsessive creators:

    Romantic poets fixated on mortality and beauty, Gothic writers consumed by psychological darkness, noir filmmakers obsessed with alienation and moral collapse, and post-punk musicians transforming emotional fragmentation into sound.

    Obsession creates artistic continuity because the mind never fully leaves the emotional territory being explored.


    The Gothic Relationship Between Obsession and Madness

    Gothic literature has always understood the dangerous psychological connection between obsession and emotional collapse.

    Edgar Allan Poe repeatedly explored characters consumed by fixation, grief, guilt, paranoia, beauty, revenge, and psychological fragmentation.

    Stories such as The Tell-Tale Heart, Ligeia, and The Raven portray minds trapped inside emotional repetition until rational perception itself begins collapsing.

    Reality gradually bends around internal obsession while the outside world becomes psychological projection shaped by emotional fixation.

    This emotional structure later became central to Gothic aesthetics because obsession naturally produces atmosphere. Emotion no longer remains internal alone but spreads across architecture, shadows, objects, memory, and symbolic imagery.

    The emotional intensity behind Gothic storytelling still strongly shapes modern psychological horror, noir cinema, darkwave music, and melancholic visual culture today.

    This relationship between obsession and emotional atmosphere strongly overlaps with the psychological structure of noir storytelling.


    Van Gogh and the Psychology of Artistic Fixation

    Vincent van Gogh remains one of the clearest historical examples of obsession transforming emotional suffering into artistic brilliance.

    His paintings did not simply represent landscapes or objects realistically. See them at the Van Gogh Museum.

    They attempted to capture emotional atmosphere itself through color, movement, texture, and psychological intensity.

    Van Gogh obsessively repainted emotional perception rather than ordinary reality, often working through isolation, instability, exhaustion, poverty, and psychological deterioration.

    His artistic fixation allowed him to create emotionally immersive works that still feel psychologically alive today because viewers sense unusual emotional concentration behind every detail.

    At the same time, the emotional intensity amplifying his artistic vision also contributed to profound personal suffering and emotional instability.

    This contradiction appears repeatedly throughout artistic history:

    creative obsession can generate extraordinary emotional depth while simultaneously damaging the artist’s ability to emotionally survive the intensity producing the work.


    Why Artists Often Struggle Emotionally

    Artists frequently spend enormous amounts of time revisiting emotional states most people psychologically avoid.

    Creative obsession therefore prevents emotional distance.

    Grief, alienation, fear, longing, insecurity, mortality, romantic loss, identity confusion, and existential anxiety remain psychologically active far longer than they normally would.

    Over time, this emotional overexposure can gradually produce exhaustion, anxiety, insomnia, addiction, depression, emotional isolation, or self-destructive behavior.

    Many artists unconsciously begin believing emotional suffering itself is necessary for artistic authenticity.

    The fear becomes psychologically dangerous because if emotional pain disappears completely, artistic depth may disappear with it.

    This belief haunted Romanticism, Gothic culture, noir storytelling, post-punk music, and modern artistic mythology for centuries as creative identity slowly fused with emotional suffering itself.

    At the same time, discussions surrounding obsession, mental health, addiction, and emotional collapse can resonate personally with many readers because artistic mythology has historically romanticized suffering in ways that often ignore its real psychological consequences.


    Perfectionism and Creative Self-Destruction

    Obsessive artists are often driven not only by emotion, but by impossible visions of perfection.

    The finished work rarely matches the emotional ideal existing inside the mind.

    This creates endless psychological tension between imagination and reality.

    Many artists therefore remain trapped inside cycles of revision, dissatisfaction, perfectionism, self-criticism, and emotional frustration.

    The desire to create emotionally transcendent work gradually becomes psychologically consuming because perfection itself remains permanently unreachable.

    Artists often become obsessed not merely with creation, but with preserving emotional absolutes impossible to permanently capture:

    perfect beauty, eternal love, complete identity, emotional transcendence, symbolic immortality, or artistic permanence against mortality itself.

    This psychological impossibility explains why obsession and exhaustion so frequently coexist inside artistic culture.


    Why Obsessive Art Feels Emotionally Alive

    Audiences often connect deeply with obsessive art because emotional intensity feels psychologically recognizable.

    Even when viewers cannot intellectually explain why certain works feel powerful, they instinctively recognize emotional risk inside the atmosphere itself.

    Obsessive art rarely feels emotionally neutral.

    Instead, it feels vulnerable, emotionally exposed, psychologically dangerous, and deeply sincere.

    This emotional honesty frequently feels more human than polished perfection because audiences sense genuine emotional immersion behind the work.

    Art created through obsession often carries unresolved emotional energy preserved inside symbolic form.

    Music, literature, cinema, and painting produced through emotional fixation continue haunting audiences because the emotional concentration behind them remains psychologically active across generations.

    The audience therefore experiences not only artistic technique, but emotional atmosphere itself.

    “Obsession begins when emotion refuses to leave the mind.”


    Why Modern Culture Both Rewards and Destroys Obsessive Artists

    Modern digital culture creates an especially complex environment for obsessive creativity.

    Algorithms reward constant productivity, emotional branding, rapid visibility, and endless content production, while meaningful artistic work often emerges slowly through repetition, emotional immersion, isolation, and psychological fixation.

    This creates emotional contradiction for many modern artists.

    The same culture consuming emotionally intense art often discourages the psychological conditions necessary to create it.

    Artists are expected to remain permanently visible, socially active, emotionally stable, productive, and commercially adaptable while simultaneously producing emotionally authentic work.

    Obsessive creativity rarely functions comfortably inside those conditions.

    This partly explains why many contemporary artists still struggle with burnout, exhaustion, anxiety, emotional fragmentation, and identity collapse despite unprecedented visibility.

    The emotional demands of obsessive creativity did not disappear in modern culture.

    Technology simply accelerated them.


    The Thin Line Between Genius and Self-Destruction

    Modern culture often romanticizes tortured artists without fully recognizing the psychological cost behind creative obsession.

    Many artistic legends eventually became consumed by addiction, paranoia, emotional collapse, isolation, exhaustion, or premature death.

    Yet obsession itself is not automatically destructive.

    The danger emerges when identity becomes completely fused with emotional fixation or artistic output.

    Healthy creativity still requires emotional recovery, psychological balance, human connection, and the ability to emotionally exist outside artistic intensity itself.

    Without these stabilizing forces, obsession gradually transforms artistic passion into emotional imprisonment until the artist no longer controls the obsession because the obsession itself begins controlling the artist.


    The Dangerous Fire Behind Great Art

    Obsession remains one of the strongest emotional engines behind extraordinary art because it forces emotion beyond ordinary limits.

    It transforms grief into poetry, alienation into cinema, fear into atmosphere, longing into music, and psychological darkness into symbolic identity.

    Yet the same emotional intensity capable of producing unforgettable artistic beauty can also slowly consume emotional stability itself.

    This contradiction explains why artistic brilliance and emotional suffering so often appear historically intertwined.

    Great artists frequently survive by approaching emotional darkness closely enough to transform it into art without allowing it to completely consume them.

    The tragedy is that many never fully escape the emotional fire that made their art possible in the first place.


    Wear the Darkness

    Explore Gothic apparel, noir-inspired art, and dark Romantic fashion influenced by obsession, atmosphere, and psychological storytelling.

     

    Edgar Allan Poe Gothic fashion and dark Romantic apparel

     


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    The post Why Obsession Produces Great Art and Destroys the Artist appeared first on Edgar Allan Poets – Noir Rock Band.

  • Walg – VI Review

    Walg appeared out of nowhere in 2021 with a debut filled with tenacious riffs, creative melodies, and impassioned performances. They have attained a sort of cult status in the years since—not quite widely known, but fiercely beloved by their fans. Their energetic fervor has swept up a few writers here at AMG, including Gardenstale, Grin Reaper, and me.1 Walg have been prolific since their debut, releasing one album per year—sometimes there’s just no stopping the creative juices from flowing. On the flip side, such a prolific release schedule risks snuffing out the candle of passion by falling into the trap of formulaic songwriting. Walg continue to conjure that amazing, infectious energy, but once you’ve heard it 3 or 4 or 5 times, it’s difficult to create that original magic. So what will it be for this sixth go-around? Will the bellows continue to feed the flames of passion, or have the flames dwindled to mere embers?

    On VI, Walg still tenaciously cling to the passion that drove them on their debut. “Nevel” starts things off with your typical Walg guitar lead—energetic and catchy as hell. Subtle symphonics enhance the music and bring their style of meloblack closer to the likes of Dimmu Borgir, Old Man’s Child, and …And Oceans. Yet Walg also sound fiercely like their own beast. VI does have a slightly different vibe compared to the earlier records; it’s missing those spontaneous moments of sudden passionate melodicism that surprised and delighted on prior records. The tunes here feel more deliberately crafted and controlled. A tenacity on past works has given way to a little more restraint. Of course, they still play with hunger and deliver many exceptional melodies. They also pause more frequently for moments of quieter beauty, as on “1597” when Robert Koning sings his plaintive cleans amidst some gentle tremolos.

    That Walg wildness still remains, though, and it largely comes out in the vocal performance of Yorick Keijzer. He snarls and rasps like a wounded animal. While his deranged delivery gives the impression of a record careening out of control, there’s a method to his madness. His cadence sometimes brings to mind that of Maurice Wilson (Antrisch), and it adds a distinctive character to the heart and soul of the music. While the songs themselves have more constrained structures to offset Yorick’s wildness, there is one exception. The six-minute “De Eenlonkster” is an uncaged beast that is among Walg’s most creative. From arpeggios and riffs with a country twang, to a gently sung portion accompanied by the sound of lapping waves, to a brief moment when it nearly dives into death-doom territory, “De Eenlonkster” kicks and bucks, leaving you with whiplash and a purple bruise around your eye, but you’ll be grinning, missing teeth and all, when the tune rolls to its end.

    Having written dozens of songs in the six years of their existence, it’s safe to wonder if Walg are running out of ideas, especially when they deliver, at 34 minutes and 8 songs, their shortest album to date. And yet they have meticulously crafted something fabulous, still full of the Walg zeal and spark. It’s true, though, as Gardenstale pointed out in his review of V, that the veneer of their formula is starting to wear thin. There’s a sense of déjà vu when a band releases material so frequently and consistently. On VI’s weaker tracks on the back half of the record, “Stil Goberen” and “De Nacht Beheert On Allen Toes” (which are still plenty fun), the repetition is more obvious than on other tracks. The back half does have a couple of winners, however. “Het Kleester Van Ter Apel” has some creative percussion work along with a sweet riff line, while “Erfvloek” takes a more subdued route with a beautiful trem melody that provides VI a rather lovely conclusion.

    My journey with VI contained moments of ups and downs. Admittedly, my initial spins left it wanting—something felt different that I couldn’t quite put my finger on. Eventually, however, it clicked, and I began to again appreciate Walg’s songwriting magic. There’s a duet here between a gentle beauty and repellent wildness. Walg still sound like Walg, yet there’s a subtle evolution. They have managed to craft a very enjoyable record, and this brief package shows that Walg remain a wrecking ball force of nature in the realm of melodic black metal. However, one can hope they’re able to take a further step in their evolution on the follow-up to VIVII.


    Rating: 3.5/5.0
    DR: N/A | Format Reviewed: Stream
    Label: Self-Released
    Websites: Bandcamp | Facebook
    Releases Worldwide: June 26th, 2026

    The post Walg – VI Review appeared first on Angry Metal Guy.